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his impressive altar stand would have originally supported a Buddhist trinity, flanked by
the remaining subsidiary figures. The denticulated cusped platform, muscular rendering of
Tthe lokapalas and inclusion of the open balustrades to the corners all suggest a mid to late
Tang dynasty attribution.
A number of extant Tang dynasty altar groups are known, many of which have been subjected to some
degree of alteration or replacement to the figures. Two mid-Tang period examples in the Asian Art
Museum of San Francisco are illustrated in René-Yvon Lefebvre d’Argencé, Chinese, Korean and Japanese
Sculpture in The Avery Brundage Collection, Tokyo, 1974, pls 92-93. Compare another altar in the Seattle
Asian Art Museum, illustrated in Hugo Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, pl. 119, which
the author suggests is assembled.
ₑ㜧Ꮤ䊘♣ທⰛ喑ᛶ࣌҈̶ᄷ喑⤫Ꮤ̷Ϻ⪆ᰶ䂤 乕喑䠱 Reneé Yvon Lefebvre dăArgenceé喑
∂̶ᄷ喑᭯ᰫ䯕Һጓठȡ㜧Ꮤ̸⇬丫䠥呿㈸喑䂤∂ ȨChinese Korean and Japanese Sculpture in
The Avery Brundage Collectionȩ喑Პϙ喑1974
๖⢸倁ᵩ偮ᷔ喑㜧㻿҉‱喑ₑ◧А͚㜠ᮇ䷕
ᵩȡ Ꭱ喑ృ❵92 93ȡओ℁̭Ҹ喑䇜㺬䯲ృϋ≟㬊
㶀ࢇ➖乕喑䐶 Hugo Munsterberg喑ȨChinese
А҈㜧Ꮤ喑ႅ̓㔲㠒喑䕍็ᰶ䂷ᩦᝃ
Buddhist Bronzesȩ喑Პϙ喑1967Ꭱ喑ృ❵119喑
㋀ᒹ䙺ȡज℁͚ιҸ喑㫼㜷䛾ᆞϋ≟㬊㶀ࢇ➖
ӊ҉㔲䔝喑㾟Ҹ◧ᠩ䙺㔹ȡ
12 SEPTEMBER 2018 SOTHEBY’S NEW YORK 139
